Schubert Piano Sonata Op. 42 (in A moll) sheet music, Noten, partitura, spartiti, partition, 楽譜

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Franz Schubert’s Piano Sonata in A minor, D. 845 (Op. 42), composed in 1825, is one of his most important and mature works for the piano. It is the first of his late piano sonatas and marks a significant step in his development as a composer.

Structure of the Sonata
The sonata consists of four movements:

1. Moderato (A minor)
– A solemn and dramatic opening with a rhythmic motif that pervades the movement.
– Schubert uses a theme-and-variations form in the development section, which was unusual for sonata-allegro form at the time.
– The movement is deeply expressive, alternating between lyrical tenderness and stormy intensity.

2. Andante, poco mosso (C major)
– A serene and lyrical movement with a theme and five variations.
– The variations explore different textures and moods, from delicate filigree to dramatic outbursts.
– The final variation returns to the simplicity of the theme, creating a sense of resolution.

3. Scherzo: Allegro vivace (A minor) – Trio (F major)
– A lively and rhythmic Scherzo with a playful, almost dance-like character.
– The Trio section provides contrast with a more lyrical and flowing melody.
– The movement showcases Schubert’s mastery of rhythmic drive and harmonic color.

4. Rondo: Allegro vivace (A minor → A major)
– A spirited and energetic finale with a rondo structure (ABACA).
– The main theme is bold and rhythmic, while the contrasting episodes provide moments of lyricism.
– The movement ends triumphantly in A major, resolving the tension of the sonata.

Key Features & Significance
– Harmonic richness: Schubert uses unexpected modulations and chromaticism, creating a sense of emotional depth.
– Structural innovation: The integration of variation techniques within sonata form was groundbreaking.
– Expressive contrasts: The sonata moves between melancholy, lyrical beauty, and dramatic intensity.
– Influence: This work foreshadows the even more expansive and profound late sonatas (D. 850, D. 894, D. 958-960).

Legacy & Performances
Schubert’s D. 845 is considered a masterpiece of the piano repertoire, admired for its depth and structural ingenuity. It has been recorded by many great pianists, including Alfred Brendel, Wilhelm Kempff, Mitsuko Uchida, and Paul Lewis.

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Schubert’s magical harmony

Schubert’s Piano Sonata in A minor, D. 845 (Op. 42) is a treasure trove of harmonic innovation, blending Classical form with Romantic expressiveness. Below is a detailed harmonic analysis of key moments in each movement, highlighting Schubert’s unique voice.

1. First Movement: Moderato (A minor) – Sonata Allegro Form
Exposition (mm. 1–93)
Main Theme (A minor, mm. 1–16):
Begins with a stark octave motif (A–E–A), harmonized with a Neapolitan (B♭ major, m. 5) for dramatic tension.
The second phrase shifts unexpectedly to C major (III, m. 9), a Schubertian “modal mixture” (borrowing from A major).
Chromatic bass descent (A–G♯–G–F♯–F–E) in mm. 13–16 foreshadows later developments.

Transition (mm. 17–32):
Modulates to C major (III) via a German augmented sixth chord (m. 24) resolving deceptively to C major’s dominant (G7).
Schubert avoids the expected E minor (v) for the second theme, opting for the brighter C major.

Second Theme (C major, mm. 33–52):
Lyrical and diatonic at first, but quickly destabilized by modal shifts (e.g., C minor inflections, mm. 41–44).
A sudden A♭ major (♭VI of C, m. 45) creates a mystical contrast before returning to C major.

Development (mm. 94–153)
Focuses on the octave motif, transposing it through F minor, D♭ major (enharmonic German sixth), and B minor.
A striking chromatic sequence (mm. 122–129) descends by minor thirds (B minor → G♯ minor → E minor → C major), dissolving into a diminished seventh before recapitulation.

Recapitulation (mm. 154–end)
The second theme now appears in A major (I) instead of the expected minor, but quickly darkens to A minor.
The coda (mm. 242–end) features a haunting pedal point on A with chromatic inner voices, ending in resigned stillness.



2. Second Movement: Andante (C major) – Theme and Variations
Theme (C major, mm. 1–16)
Simple diatonic harmony, but with subtle appoggiaturas and suspensions (e.g., m. 3: V7–I with a delayed resolution).

Variation 1 (mm. 17–32)
Broken chords in triplets, with a modal shift to C minor (m. 24) for a fleeting shadow.

Variation 2 (mm. 33–48)
D minor inflection (ii, mm. 37–40), then a Neapolitan (D♭ major, m. 41) for poignant contrast.

Variation 3 (mm. 49–64)
E♭ major (♭III) intrudes (m. 53), a “remote” key that Schubert connects seamlessly via commontone modulation.

Variation 4 (mm. 65–80)
Stormy C minor, with diminished seventh outbursts (mm. 73–76).

Variation 5 (mm. 81–96)
Returns to C major, but with chromatic passing chords (e.g., F♯°7 in m. 85) adding richness.



3. Third Movement: Scherzo (A minor) – Trio (F major)
Scherzo (A minor)
Hemiolas disrupt the 3/4 meter (e.g., mm. 29–30), while the harmony alternates between A minor and C major.
The Trio (F major) contrasts with a luminous, choralelike texture, but even here, Schubert inserts a D♭ major (♭VI) surprise (m. 118).



4. Fourth Movement: Rondo (A minor → A major)
Refrain (A minor, mm. 1–24)
Built on a driving rhythmic ostinato, harmonized with sudden shifts to C major (III) and E major (V/vi).

Episodes
First episode (C major, mm. 25–56): Features a folklike melody, but with chromatic descents (e.g., C–B–B♭–A in mm. 33–36).
Second episode (F major, mm. 89–120): A lyrical contrast, but with unexpected minorkey intrusions (F minor, m. 97).

Coda (A major, mm. 217–end)
The shift to A major feels earned, with the final chords alternating between A major and F♯ minor (vi), a bittersweet ambiguity.



Schubert’s Harmonic Hallmarks in This Sonata
1. Plagal (IV–I) and Neapolitan (♭II) Cadences: Used for solemn or mystical effects.
2. Chromatic Mediants: Sudden shifts to E♭ major (from C) or A♭ major (from C minor).
3. Modal Mixture: Borrowing chords from parallel major/minor (e.g., C major in A minor contexts).
4. Deceptive Resolutions: Dominant chords resolving to unexpected keys (e.g., V7 → ♭VI).